It seems that in 1218 S. Francesco d’Assisi lived here in a hut made of scarsa (a palustrine plant from which derives the name Scarzuola).
St Francis allegedly stayed here in a straw hut, returning from Perugia ; on the spot where later Nerio di Bulgaruccio would stand a small church. In 1400 then the area was enlarged by building the Monastery lately known as Scarzuola, property of Franciscans till 1876.
Today the Scarzuola is a charming place that has been transformed by the Architect Tommaso Buzzi from Milan , who bought the convent in 1957 in order to build his “ideal city”.
The aim of his plan was to create a sort of "ideal" city where a blend between nature and culture could take place.
The result has been an architectural complex where symbolisms, allegories and any kind of citations are scattered throughout it and where there are many small and empty rooms that make it appear like a giant termitarium. Tommaso Buzzi is considered one of the most interesting Italian designers of the XX century and he has been a subject of research during the last years.
The Buzziana semms just a profane city, full of references and citations, mottos engraved everywhere, maxims, monograms and indecipherable symbols.
It is composed by a bundle of buildings and monuments that seems miraculous: circular buildings like Arabic astronomical observatories, zoomorphic buildings, tebaidi and places of meditation, pagan temples and the crystal tower, that it seems the pinnacle of a Gothic cathedral.
When he died, in the 80s , Tomaso Buzzi left its stone creation incomplete, expressesing the desire to leave it to nature (to be devoured or transformed into a bundle of wonderful ruins worthy of the art of Clerisseau).
But the Buzziana did not disappear and today has became a labyrinth of the soul, a building that overcomes the rules of our dimension and creating other ones.
This is how he created this bridge between old and new, keeping the structure of the convent and adding his "ideal city" to it. The Città Buzziana is an architectural composition inspired from neo-Mannerism as it can be inferred from the staircases that cross the complex and by the extension and the lack of proportion of its shapes, but also from the numerous statues that are present everywhere.